Joshua Rothkopf
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For 648 reviews, this critic has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this critic grades 3 points higher than other critics. (0-100 point scale)

Joshua Rothkopf's Scores

  • Movies
  • TV
Average review score: 62
Highest review score: 100 Before Midnight
Lowest review score: 20 The Comedy
Score distribution:
  1. Negative: 43 out of 648
648 movie reviews
    • 45 Metascore
    • 60 Joshua Rothkopf
    The film wants to be inspiring, when it might have been cosmic-a far greater ambition. Tossing boats and dreamers, the huge waves perform beautifully.
    • 54 Metascore
    • 60 Joshua Rothkopf
    It's almost cruel to criticize something so essentially lighthearted and disposable, but it must be said that a lot of these jokes feel distinctly recycled, mainly from "Broadway Danny Rose."
    • 67 Metascore
    • 60 Joshua Rothkopf
    Hipsters is also a musical (in an intentionally naive "Absolute Beginners" vein), and while everything looks glinty and gorgeous, the story's political edge is dulled by excessive levity.
    • 46 Metascore
    • 60 Joshua Rothkopf
    "Amadeus" it's not, but as light transitional music, the film-which has Pete Postlethwaite's final performance, as a swishy landlord-is tuneful enough.
    • 64 Metascore
    • 60 Joshua Rothkopf
    West holds your interest with material that should feel like a rip-off of The Shining. If this is mere placeholding until something more ambitious comes along for the rising director, it'll do.
    • 73 Metascore
    • 60 Joshua Rothkopf
    No matter how sincere, Marston's effort also suffers from the lack of a burning lead as he had in Maria's Catalina Sandino Moreno. Fierce acting is a virtue you don't have to travel the world to find - or to lose sight of.
    • 83 Metascore
    • 60 Joshua Rothkopf
    Director Paul Greengrass remains a genius of claustrophobia, yet his better films — "Bloody Sunday," "United 93" and "The Bourne Ultimatum" — all beat with a stronger sense of central identification. He doesn’t have as much to work with this time, and his solution is to slow down the pace. The result is more clarity, but also more monotony.
    • 71 Metascore
    • 60 Joshua Rothkopf
    A middling entry in the growing genre of tragic, never-quite-made-it rocker docs, this doesn't have a bona fide genius at its core (The Devil and Daniel Johnston), nor a compelling clash of Spinal Tap–ready egos (Anvil! The Story of Anvil).
    • 60 Metascore
    • 60 Joshua Rothkopf
    When a movie is this predicated on aping the Coen brothers (effectively, it should be added, in fits and starts), surprise won't be its strong suit.
    • 73 Metascore
    • 60 Joshua Rothkopf
    There's a more courageous profile waiting to be made by someone who understands the man better.
    • 66 Metascore
    • 60 Joshua Rothkopf
    Cigarettes are sucked hungrily by all involved, old and young, in the trashscape of this depressing Australian crime film - a movie that heaps so much dank atmosphere on its suburbanites, you can't help but sigh with relief when events turn to serial killing (finally?).
    • 63 Metascore
    • 60 Joshua Rothkopf
    You watch Dafoe's intelligent hands skillfully setting traps, building fires and squeezing triggers, and wonder if an entire movie might be made of such manly components. Probably not.
    • 72 Metascore
    • 60 Joshua Rothkopf
    The documentary feels preprogrammed when it could have been a real-life Black Swan.
    • 52 Metascore
    • 60 Joshua Rothkopf
    The oddest thing about the movie - and perhaps the asset that will tip it over into the plus column for you - is that it's a bona fide scuzz-Western.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Dreams like Garriott's shouldn't be available only to the highest bidder. If you end up taking the kid in your life to go see it, urge them to start saving their allowance.
    • 65 Metascore
    • 60 Joshua Rothkopf
    The movie looks beautiful, its sublime b&w cinematography signaling a fading dream. And there are touching moments here that you rarely see in docs about professional musicians or celebrities in general.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Sinister has so much going for it - adult psychology, a great bitchfest of a marital meltdown - that you wince when it finally makes some rather dull choices involving the supernatural.
    • 60 Metascore
    • 60 Joshua Rothkopf
    It exists in fits and starts: a Blade Runner–esque moment of rainy contemplation on a hotel balcony; some weird sexual tension with a lizard girl (statuesque Svetlana Khodchenkova) who steals away Wolverine’s healing powers.
    • 32 Metascore
    • 60 Joshua Rothkopf
    You’re either awestruck, dumbstruck or just plain struck in the face.
    • 86 Metascore
    • 60 Joshua Rothkopf
    How can a movie so steeped in post-Katrina imagery eschew even the smallest comment about social responsibility? Maybe that was deemed too earnest, a decision that makes zero sense when a twinkling score is ladled on like instant pathos. Real people aren't beasts, nor do they require starry-eyed glorification. Bring your liberal pity.
    • 72 Metascore
    • 60 Joshua Rothkopf
    Safety Not Guaranteed doesn't quite know what kind of comedy it wants to be; the humor works best in its first hour, when the news-of-the-weird plot takes on a suggestive dimension of romantic desperation.
    • 74 Metascore
    • 60 Joshua Rothkopf
    Dree Hemingway, daughter of Mariel, commits to some unnecessary nudity, but also impresses with her subtlety.
    • 45 Metascore
    • 60 Joshua Rothkopf
    The opinions assembled are impressive: everyone from "Rounders'" Matt Damon to former senator Al D'Amato, a poker defender. But where's the voice of reason? It's card playing, not a dependable income.
    • 59 Metascore
    • 60 Joshua Rothkopf
    The precedent for a movie like this is Ang Lee’s bruised "The Ice Storm," but whereas that film sprung from a novel that burns with indictment, Julia Dyer’s effort — scripted by her late sister, Gretchen — is a more open-ended affair and slightly unsatisfying for it.
    • 86 Metascore
    • 60 Joshua Rothkopf
    I'd trade much of The Master for one extraordinary moment played by the ever-improving Amy Adams, in front of the bathroom mirror with Hoffman.
    • 56 Metascore
    • 60 Joshua Rothkopf
    If you go into Maleficent expecting Jolie to be the badass of Sleeping Beauty, you’re going to get burned.
    • 53 Metascore
    • 60 Joshua Rothkopf
    Only Julianne Moore, as the Bible-thumping mom, has an instinct to go softer — how couldn’t she, after Piper Laurie? — and paradoxically, it’s a move that feels wrong, the role requiring its cantatory bigness.
    • 64 Metascore
    • 60 Joshua Rothkopf
    Still, the problem that often fells these documentaries - humorlessness - has been licked: Jack Black makes an exuberant cameo pitching recycled toilet water (his fake brand is called Porcelain Springs). Sound gross? Open wide, because it's on the menu for all of us.
    • 55 Metascore
    • 60 Joshua Rothkopf
    There's too much going on here - of a winning, thoughtful nature - to dismiss Josh Radnor's back-to-college romance as the nostalgia bath it mainly is.
    • 66 Metascore
    • 60 Joshua Rothkopf
    This film could have done with a few more mouth beats and unlikely moments of extracurricular celebrity.